Breaking the Waves @ Opéra Comique Paris

“Of almost all the scenes, the creator of the role of Bess, the American soprano Sydney Mancasola, burns the set with her charisma as an actress ready for anything (in rather raw scenes), her mezzo voce held in a poignant lamento or her loving and mystical impulses with brilliant highs ("His name is Jan"). The most admirable being his voice extraordinarily worked towards the extreme of the range, a voice devoted to God that is doubled by an excellent fusion Aedes choir” -Christine Ducq ForumOpera.com

“The hypnotic Bess of Sydney Mancasola received a Herald Angel for this role at the Edinburgh Festival. It must be said that her performance is total both in singing and in her playing and stage presence. The Bess she proposes does not accept the half-measure and her sensitivity is transposed into her soprano voice. Her body moves in a light and flexible gesture, in accordance with her kindness. But sometimes, it is her madness that takes over, in these moments when her belief is transposed into a kind of schizophrenia, an inner dialogue that tears her apart.” -Lucine Bastard-Rosset TouteLaCulture.com

“Above all, the Californian soprano Sydney Mancasola, free and bright singing, a very natural scenic presence even in the most explicit sex scenes, draws a complex character,” -Benoit Fauchet Diapason Magazine

“It was essential to bring to life this drama close to the Greek tragedy that the performers were of a very high level: Sydney Mancasola, a young American soprano knows and seems to be inhabited by the character, present on stage for more than two hours, she is simply breathtaking. The extent of the roles already on her list (Mélisande, Pamina, Eurydice, Olympia) leaves us thinking but does not surprise us at all. She embodies the crazy love that leads to madness; but isn't it the essence of opera heroines?” -Philippe Pocidalo Résonances Lyriques

“The distribution combined is of exceptional homogeneity and quality. Sydney Mancasola's Bess bursts the screen, if we dare to write, in this overwhelming role, without pouring into excess, always master of magnificent vocal means adapted to the size of the Favart room.” -Oliver Brunel concertonet.com